Going Solo

"Afternoon of a Faun was my first principal role with the company. It was surreal to see my name on the schedule for it; it felt completely out of the blue! I remember being so surprised because it has been and still is one of my dream ballets. For Faun to be my first principal role feels very special and I'm very grateful to [Repertory Director] Jean-Pierre Frohlich for putting his trust in me and guiding me through this opportunity. 

I remember when the revival of Errante was announced and learning that Suzanne [Farrell] was coming to set it, and hoping I would get to do the corps so I could learn from her. To see my name called for the principal role was really unexpected, because the character of this role was something I hadn't found in myself yet. I was nervous and it felt very vulnerable to be starting from scratch in front of someone like Suzanne. To my surprise, she never made me feel scared, she only made me feel like I could try anything in front of her, and that made me find some true freedom within my dancing. I believe Errante provided me with the biggest explanation of myself. 

Movements for Piano and Orchestra is to this day one of my most favorite things to perform. I fondly recall the experience; it was my first Balanchine/Stravinsky principal role. I got to dance this special ballet with [Soloist] Davide Riccardo and our friendship and partnership on and offstage truly flourished because of it. Our rep director was Rebecca Krohn, who was able to help me find a new side of my dancing—which is now one of my favorites."

"My first featured role in a Balanchine ballet—and first 'black and white'—was Agon. Challenging both physically and mentally, it instantly became one of my favorite ballets in our repertory. The music, lack of costumes, choreography, and style bring out an effortlessly powerful quality from the dancer. There is an inherent tension in the ballet, like you are dancing on the edge of a cliff, tempting fate, knowing you won’t fall. Repertory Directors Jean-Pierre Frohlich and Kathleen Tracey both told me Agon is one of the ballets that makes you feel like a bona fide Balanchine dancer. They were right!

The third movement from Brahms-Schoenberg Quartet made me believe in my ability in a way no other ballet had at that point. It was the first time I felt the weight of a role and had to step into it believing not only that I was skilled enough to perform it, but that I would excel at it. There was no room for doubt. That newfound level of confidence allowed me to grow as an artist and trust in my daily work. Brahms revealed I could handle more responsibility. I now find myself craving new challenges and understanding that, sometimes, it is the pressure that makes diamonds.

Dances at a Gathering is very special to me for a multitude of reasons. One of them is the relationship I developed with [Principal Dancer] Megan Fairchild while working on the 'giggle' pas de deux. This ballet was the first time we worked together in such close collaboration, and I learned a great deal from her. Aside from discovering how to approach the ballet, the information she passed down about performing overall has stuck with me since then. I already admired her, but now I sometimes feel I can read her mind while she’s onstage, because I know her thought process and understand her mechanics. I am honored whenever I get to call her my partner, but even more that I get to call her a friend."

"Dancing the red purse girl in Jerome Robbins' Fancy Free is definitely a standout memory for me. The role is so theatrical and playful, and leaning into the comedy felt natural. It brought me back to my musical theater roots from when I was younger and reminded me how much I love storytelling onstage, not just through steps but through personality and presence. Each performance I played it a little differently, playing with new expressions, timing, and small details so it stayed fresh. I never like to give the same performance twice. Especially with this role. Keeping it fun and spontaneous is what makes it exciting for me and the audience.

The role that let me know I was ready to continue growing in my career was Hippolyta in George Balanchine’s A Midsummer Night’s Dream. Dancing in fog, working around props, barely being able to see my legs or feet, and having very limited rehearsals made it feel daunting, especially as the Queen in Act II, front and center throughout, carrying a lot of responsibility. It was the kind of role I’d never been given before, and stepping into it pushed me in a new way. I remember being very on-edge for all of the rehearsals. But what surprised me was how much peace I had before and during my debut. In the middle of the pressure, I felt grounded and confident, when in the past I would be a bundle of nerves. Now I was dancing for myself. That shift, from nerves to trust, was when I knew I had matured in my craft and reached another level, not because everything was easy, but because I had belief in myself.

I never expected to dance the yellow girl solo in Justin Peck’s Pulcinella Variations, which made it even more special. I’ve always loved the ballet. The contrast between Stravinsky’s sharp, classical score and the playful, quirky costumes really works. The yellow costume and upbeat music just make me light up onstage. I remember smiling so hard my face would actually get sore. It’s pure fun, and somehow everything just clicks when I’m in that role."

_{Backstage video still © Sam Wootton. Portraits and performance photos © Erin Baiano.}